hope." Let him proceed in the noble and determined spirit of Milton. Let him by industry and study endeavour to qualify himself for great undertakings, and be ready when called upon by happier circumstances, to sustain the honours of his art, and perhaps help to add to the other glories of England, that of a distinguished school of Historical Painting.
Academy, Royal, purport of its Lectures, 1; by whom
founded, 283.
Albano, his graceful works, 32.
Allegorical painting, affords scope to invention, 33;
prejudices entertained against it, 35; employed by
all the great painters, 38.
Anatomy, a knowledge of it indispensable to the
painter, 82.
Angelo, Michel, his grand style of painting, 28; his
perfect design, 78; his works in the Sistine Chapel,
218; his superiority compared with Rubens, 229;
his opinion of oil-colours, 254.
Apelles, remarked on, 111; inferior to Amphion, 212.
Apollo, statue of, 12.
Architecture, knowledge of, its importance in furnish-
ing materials for backgrounds, 245; instanced in
the productions of the great masters, 246; an ac-
quaintance with, essential to the student, 248.
Art, limited to no country, 47.
Background in pictures, rules for, 237; method pur-
sued by the great masters, 239; capable of being
rendered a valuable ally, 242; Titian's excellence
in, 243; from whence the materials are to be
derived, 245; painters who have excelled in, 246 ;
skill of the French school, 247.
Bacon, observation of his, on poetry, 25.
Banks, his Thetis and Achilles,' 215.
Barry, his decoration of the Adelphi, 286.
Bartolomeo, Fra, his effective style of painting, 115.
Beauty, the attribute of fine arts, 68; what it con-
sists in, 69; proportion, an essential constituent
of, 71.
Bos, Du, anecdote by, 37.
Caracci, Annibal, criticisms on his style, 79.
Caracci, the, their fine style of drapery, 98; aim of
their school, 272.
Character, or physiognomy in paintings, how to be
regulated.
Charles I., his taste for the fine arts, 282.
Chiaroscuro, definition of the term, 107; inferiority of
the ancients in, 111; its proper arrangement, 136;
principle of the great painters, 139.
Claude, effect of his backgrounds, 246.
Colour, remarks upon, 12; rules with respect to, 154;
harmony of, unknown to the ancients, 156; artists
who have excelled in, 158; practical rules, 191.
Colouring, art of, talent displayed by the English
school in, 182; harmony and management of, 185;
principles of the most eminent masters in, 187.
Composition, principle of, 194; excellence of Poussin
and Raffaelle in, 196; rules for, 200; skill of the
old masters in, 203-207; harmony of, various
modes of producing, 208; deficiency of the ancients
in, 213; instances of excellent composition, 232;
what is comprehended in the widest sense of the
term, 236.
Condé, prince de, allegorical painting of, 37.
Contrast, the source of all effect in colour, 190.
Correggio, allegorical paintings by, 39; his bold fore-
shortenings, 85; perfection of his chiaroscuro 117;
remarks on his style of colouring, 170; picturesque
effect of his composition, 224.
Design, or drawing, the first desideratum of art, 61;
anatomy and perspective essential to it, 82.
Docility, one of the first requisites in a painter, 55.
Domenichino, his perfect style, 79.
Donatello, obligations of M. Angelo to, 217.
Drapery, adjustment of, 99.
Drawing, remarks upon, 100; a correct knowledge of,
essential to the painter, 104.
Dress, modern, unfriendly to true taste in the painter,
50; art of disposing, 99; its effect on painting,
Du Piles, his opinion of the end of painting, 8.
Durer, Albert, his treatise on symmetry, 82; his ex-
cellences and defects, 98.
England, sketch of the history of painting in, 281-
291; revival of the art on George III.'s accession;
283; offer of British artists to decorate St. Paul's,
286.
Expression, in what it consists, 92.
Flaxman, beautiful compositions of, 11; his admirable
adjustment of drapery, 98; his shield of Achilles,
Form, abstract value of, 70.
Fuseli, his criticisms on the style of M. Angelo and
Raffaelle, 29.
Gibbon, remark of his on the Greek language, 81.
Giorgione, his style of painting, 115.
Grace, in painting, what it consists of, 94; best exam-
ples of, among the moderns, 95.
|